Saturday, December 31, 2011

Any grind band taking their name from an Insect Warfare track better rip at their level. It would seem Cellgraft does just that, picking up the torch where it had been laid down as the influence of the aforementioned group strikes you like a freight train immediately, and does not let up once.

Like an engine being red-lined into a smoldering mass of steel and oil this shit is a loud, frantic and angry machine — 8 minutes of face-stomping, filthy, intense and tremendously satisfying grindcore. Unrelenting, raw dystopian chaos roars within this EP. No hesitation or meandering, packed with harsh noise and sick, sharp blasting riffs that will knock you on your ass.

Highly recommended for fans of Insect Warfare, GridLink, etc. Pick up the 7" over at No Reprieve. Follow them here.

Thursday, December 22, 2011

Fucking awesome doom metal right here. I was tipped off to Lycus many months back but really didn't check them out until fairly recently, I regret not doing so sooner.

This demo is heavy, heavy shit. Monstrous doom that does not drone and wear on the listener, it has purpose and moves elegantly in huge, satisfying swaths of riffs. There are three tracks that hang around the 7-9 minute area, all three do not linger on one riff too long,
and while they may be treading familiar ground they manage to add their
own strong melodic mark on the genre.

It does not drift aimlessly. This demo has purpose and is tightly directed — a perfect expression of solemn,
melancholic, beautiful and cavernous doom carefully paced and well
executed. A deep vocal presence bolsters the despondent atmosphere with growls, roars and drawls while a steady down-tempo beat supports the buzzing, boulder splitting melodic guitars. The whole thing has an epic air around it, barely escaping funeral doom territory and remaining interesting. A slumbering giant that has awakened, graceful and doleful, trampling slowly through barren fields on an overcast day.

Much like other engrossing newer doom acts like Anhedonist and older monsters like Asunder this is one I wouldn't pass up. You can download/pay-what-you-want and listen to it on bandcamp, also The Flenser will be releasing it on vinyl soon. I suggest picking it up when they press it since the tape is sold out. A welcome addition to any doom fans collection. Follow them over here too.

This has already been posted quite a few places, such as The Living Doorway (where I originally found it) and Forever Cursed who have done justice to this far better than I can, but it deserves a post here too.

The story behind the album cover (quite uncharacteristic of most atmospheric black metal acts I've run into) is bound to one incredibly unlucky cosmonaut, a haunting and ugly tale. It can be read on the blogs I mentioned above but if you want here's some regurgitation from one of the members of Leucosis as read on TLD:

"The Soviets basically sent this guy
into space in a half-finished spacecraft, and he burned up on reentry.
The radio noises on Track 2 are his screams as he came crashing down to
earth. The crazy part about this guy's story is that pretty much
everybody knew the spacecraft was gonna fail, but nobody wanted to take
responsibility (they'd get killed, thrown in the gulags, etc). Basically
a really fucked situation. The picture on the cover is of the superior
officers gazing upon the horrors they were responsible for, perhaps
seeing that black mess on the table as something within themselves."

That alone should spark some interest. Leucosis lay down some wicked atmospheric black metal on Pulling
Down The Sky, spacey and alien-esque despite the cascadian
influences. It's clear they come from that school of black metal but
they manage to pull off something quite different. Containing a droney, buzzing
intro (and outro) with some eerie chanting setting the mood well, an 8 minute track with howling wolves and an acoustic guitar, and as one tumbles
further through the rest of the record the cold, raw, darkly hypnotic passages that build to a
oppressive and desolate soundscapes — there is no question that Leucosis have invoked something special while writing this.

Pulling Down The Sky runs through some very depressing territory without becoming played-out
and stale, cutting its own path through bleak and tragic sounds in a captivating way. The
sounds of hopelessness and uncaring, the desperate moaning of someone who has been running in fear for days, struggling to survive in the isolated corners of a
cold and unfamiliar land. A feeling of darkest despair as you gradually
run out of oxygen in the freezing capsule of a space station, trapped in
the unknown reaches of space as you realize your fate.

Highly recommended for fans of the genre. You can buy it directly from the band here or via email.

"In Icelandic, the word logn is used in reference to a calm weather – peace - lull. The calm veiled a looming threat. A storm is about to ensue."

An ironic definition I would think from the sound of this record. The name of this album in English is "In The Absence Of Light, Darkness Comes To Life", and what we have here is some dark Icelandic grind. I can't say I've heard much metal come out of Iceland but that could just be due to my complete lack of inquiry and exploration regarding the country.

This is a pretty sick album I must say and I would hope Logn gives a good representation of what the scene looks like up there in Iceland — a pleasant surprise in the often neglected request folder. Thirteen tracks flipping back and forth between 50 second rapid fire dirty grindcore and an occasional flurry of slow, crusty hardcore in the form of 5 to 7 minute melodic frolics. Both aspects are pulled of very well, dark and pissed with the slow moments giving off a feeling of brooding sadness (as can be heard in Salt í sárin and Í fráhvarfi ljóss).

A storm of clever, sometimes chaotic and groovy riffs, speedy drumming, pummeling basslines and ear-shredding vocals all throughout. Not revolutionary but I would say it has a definite unique tone in the crowded grind arena, and is an excellent and earth-scorching effort for this young grind act.

A strong and tight performance, well paced and heartfelt. Certainly if you're a fan of Gadget and sweet grind like that I encourage you to check this out as it won't disappoint. Download and listen to it on their bandcamp page, buy it here, and follow them on facebook.

Tuesday, December 20, 2011

Yep, this year I decided to post my picks for 2011. I usually keep my lists confined to my last.fm page and haven’t posted them here in the past but fuck it.

I went with a main top 20 list plus a separate demos + EPs and splits list with less detail — despite the fact that a few EPs show up in my main list. Usually everything from the top 5 stays solidified at their spots the others may go up and down the list occasionally.

2011 was another great year for music, there was so much great shit released by hard working groups and labels that again it was a tough year to make a list. I always feel as though I should wait like a month or two after the new year to make a list like this since I do usually miss an amazing record and regret not putting it on the list. On that note: if I miss something it’s cool if you post a suggestion in the comments, but please try to hold off on the “You forgot _______, not good enough for ya?!” type of comments — you guys have your own lists to do justice to those albums you feel I’ve missed.

Do post suggestions though. I have added a huge Honorable Mentions and More Good Shit list for recommended albums that aren’t in the top 20 but are great. Anything not on that list I didn’t feel like mentioning, haven't heard it or I just missed it.

Saturday, December 17, 2011

Hello everyone, I want to get something out of the way. I have not been posting, and probably won't for awhile because I'm getting a cap on my bandwidth. So AT&T is charging me more because I'm either downloading or uploading too much.

To the topic at hand.

I may be just a stupid idealist, and I'm not the best writer but I need to tell you something. SOPA is a threat to us and the rest of the internet, and I mean the whole internet. Not just the US, but all over the world. The new bill gives any company the right to shut any website if that corporation finds any copyright material on said site. In short, let's say a large record company like say Nuclear Blast see's our blog, they can potentially shut down not just our blog, but all of Blogger.com. Even blogs here that have nothing to do with pirating or anything copyright will be blocked. Even a video on youtube with a copyrighted song will cause the entire site of youtube to be blocked. That's basically what this bill does.

But let's say, only pirate sites get shot down. Like our blogspot, band's that link us their albums or ask us for promotion will have a harder time trying to get their music out there.

That's not cool.

If you don't believe me, here is the bill. And don't say that it won't pass, Obama is going to veto it, yet bills like NDAA have passed which that bill violates an American's 4th and 5th amendment rights.

You guys, and our friend's over in other blogs can help spread the word. Even if you are aware of it, shove it down people's throats because people still have an apathetic attitude. I'm sorry my country is trying to destroy the world, I really am.

Friday, December 16, 2011

It's funny. I was actually going to post this soon and then I got a request from someone to get it up here.

Christological Escalation is wicked. A 4 track EP of anti-judeochristian themed black metal injected with a tiny bit of hardcore/crust and a droney atmosphere that creeps in, making it a sharp and unique release.

Like Dephosphorus there's a spacey and bleak element enveloping each track. A few spoken samples are strewn throughout some tracks, and Panos (of Dephosphorus) fucking destroys on vocals with a commanding abrasive feral screaming — much praise to him. The members are clearly proficient writers, never lingering too long on one sound or riff before
transitioning into something new while keeping it cohesive. Guitars swing from grim and fierce churning oldcshool-ish black metal tremolo riffs, to more thick and drawn-out pulsing drones and sustained chords; and there's a miniscule offering of chaotic hardcore styling.

Highly recommended. A wonderful gem I'm glad I heard before compiling my 2011 list. Harsh and malefic but with an ethereal, other-worldly coating. You can pick this nasty EP up on 10" vinyl and cd over to Avantgarde Music, Sound Cave, or their main site.

Here we have the first release of a new band entering the circle of black metal, Icon Of Phobos. What a wicked cover.

Icon Of Phobos embrace orthodox and atmospheric black metal elements — if I had to say it would seem there's influence from the likes of Inquisition with a helping of atmospheric black metal. Not enough to be completely on that end of the genre but there is no doubt that the influence is there, and it certainly leans more to that side than anything.

A very ruinous and depressive atmosphere is invoked throughout this release. Seven tracks in all including an intro and instrumental outro which have some noise and sampling to bookend the album. The core tracks are composed of a fair amount of sustained notes and drawn out wavy/bendy semi-dissonant riffs which are quite satisfying and fall into atmospheric black metal territory before hitting more traditional gallops and powerchords. Quite heavy on the tremolo riffs as well when dissonant sustains are not being used but usually at a slower pace than more traditional acts, and there are occasional solos that hit on the more traditional side of the genre.

Also a very palpable bass presence and a massive injection of skillful drumming blankets this release (tons of blasts and kickers). Vocals are rife with despair and contempt, lots of echo/reverb and do not every hit the high end of things, staying low and growly/raspy but keeping the lyrics audible.

Overall this is a very solid first effort with some room for growth/experimentation in my opinion; they could do a lot more with what they have. It's hard to place but this feels familiar in some sense — not necessarily a bad thing of course. That said it's no slouch and certainly an enjoyable release. Fans of black metal with a progressive edge like Ascension and the latest Leviathan release or Mutilation Rites and Castevet will want to take a look at this one. You can pick it up on cd here.

Pallbearer is a band I knew nothing about going into the Rites of Darkness III festival but boy was I surprised by their performance. This is some epic doom metal.

Comprised of 3 tracks that hit between 5 and 9 minutes long and emanating a classic stoner doom vibe (ala Black Sabbath), it's a great taste of what this promising band has to offer. Massive riffs with some melodic elements mixed in with brilliant clean singing that has a droney, mournful and dreamy feeling to them. The tracks trudge along with a great gloomy atmosphere, staying interesting especially with the vocalists strong presence over top of it all. The solos are wonderful as well and are placed expertly.

Sludge and doom fans should give this demo a listen. I can certainly say that as good as this demo is they're even better live. You can download the demo and listen to it on their bandcamp page.

A young hardcore/sludge band from Texas sent this in and I quite enjoy it, I'm always up for some low and slow dark hardcore.

Sabrewulf is some really doomy shit kind of reminiscent of Minus the Herd-era Ion Dissonance in some ways (low tuned and chunky) but slower and without the emphasis on technicality/breakdowns, adding some crusty-sludge elements. It's simple, slow, and menacing.

Prophecy starts of with a quiet clean riff on Life in the Echo that leads into feedback and chunky opens with heavy, slow pounds of the drums. The next song is where we get a true feel for the tenebrous, depressive nature of the EP.

Down-tuned, beefy, dark riffs creep and stumble all over the remainder of the album, only breaking the slow pace to hit a brief moment of mid-paced hardcore sections (as in "The Nameless Dead") then falling back into the dissonant slabs. Tracks like "Black House" and "Marked for Death" have the deliberate bendy slides and tasty moments of discordant open strings that I really fucking like. Some gruff and ugly vocals accompany the heavy guitars and slow percussion. The EP ends on the self-titled track with then same clean riff it opened with neatly sealing the it in an ominous fashion.

Recommended for dark hardcore enthusiasts. You can listen to and download the EP on their bandcamp page and follow them here.

Early Monday morning on December 12th, a mere 4 hours after the final band left the stage at Backstage Live in San Antonio, Texas I was on a flight back to Toronto; sleep deprived, sore and totally destroyed from 5 days of head-crushing metal.

There wasn't much activity on Equivoke during the past week and that's because I was busy having a shit ton of fun down in Texas at the Rites of Darkness III festival. Despite the bitching an whining in the weeks and days leading up to it (some of it justified) the show was definitely one I would've regretted missing even if Evoken/Funebrarum/Disma/Dead Congregation/Pagan Altar/etc. didn't make it in the end — there was ample amounts of brilliant bands that made the trip absolutely worth it. It may have been too much for a 3 day fest if the 11+ bands that dropped off had been able to show up since even without them shows went pretty late (10 hour days man, I barely got any sleep).

So yes this post is going to be a lazy review of the fest and a shameless plug of my youtube shit. Skip it if you don't care, I won't make a habit out of these kinds of posts I assure you and I'll get back to posting albums soon.

Tuesday, December 13, 2011

Four tracks of excellent death metal that will rip a hole in your face continuing from the split with Vasaeleth and their insane demo "Convocation of Crawling Chaos". These guys are really tight live too, blew me away at Rites of Darkness III a few days ago and played the last two tracks from this beauty (I'll have video of their whole set up pretty soon). Mounds of delicious, evil riffs to be consumed right here.

Don't know when this will go up for sale outside of live shows but I'll post a link when I find out. Enjoy.

Monday, December 5, 2011

A fucking oppressive, crushingly dark release. Would you expect anything less from these bestial, gloom-ridden acts?

This is the second release for Grave Upheaval (who I'll be seeing at Rites of Darkness III in a few days) and the first split for Encoffination, released just before their recent somber, crawling and terrifying second full length "O' Hell, Shine In Thy Whited Sepulchres".

I think you all know what lies within this split: unbearable darkness and suffering in sonic form. Encoffination open with "Inurnment of Fleshless Disembodied Remains", their classic use of chiming cathedral bells emanating throughout the track followed by a slow build of feedback and a quick sample dragging you into a down-tuned apocalypse. If you love their recent release this will be greatly satisfying. Grave Upheaval's untitled track follows with a muffled and turbulent hatefilled atmosphere. The riffs are pitch black and unbearably heavy, with grievously haunting rasps permeating the spiraling ferocity. This track has a huge low end as well — it will shake your place without question.

A truly perfect pairing of bands on this release. It couldn't be more appropriate. Highly recommended, do not pass this up. It's limited to 250 copies on vinyl from various places (I got mine from Dark Descent Records but it looks like they're out). This is a vinyl rip, any problems let me know.

Here we have the latest outings recently released on Dark Descent Records of two excellent Canadian metal bands, one black metal, one death metal and both wicked. Six tracks from each band, with three covers on Nuclearhammer's side (Razor, Slaughter, Discharge) and one from Begrime Exemious (Black Sabbath).

If you've heard either of these bands you know what to expect: Nuclearhammer is chaotic and dark coming at you in quick, ugly bursts pausing only once in the first track for a slow and heavy descent before picking back up into frenzied, tumultuous riffs. Begrimes Exemious is ruthless, dirty death metal blasting your face with tangled, semi-angular riffs and varied snarled and shrieked vocals. Both offerings continue to push traditional styles of their respective genres building well on their past outputs (especially Begrime Exemious) with their own abrasive twist, fast paced with no compromises.

Good shit from both groups. You can hear the Begrime Exemeious side on their bandcamp page.

Saturday, December 3, 2011

Another band I slept on this year. Been hearing word from Gilead Media that they're pressing their upcoming record "I Am Legion" and the band just signed to Prosthetic Records not long ago. I almost missed this one and would've regretted it. Mutilation Rites walk the fine line between atmospheric black metal and the more raw Barghest black metal with a few hints of death in there. In this short three track demo they harmonize it all very well.

Filled with a ton of blackened riffs that dip into melodic and dissonant territory with an ugly vocal presence over top of it all. The album starts with the 7 minute "White Death" which starts off slowly with a thick bass line behind a heavy sustained melody, eventually plummeting into furious powerchords and hammering drum kicks ending on a slightly slower note. "Pariah" is 30 seconds shorter but quickly follows with fervid tremolo riffs that only let up for a gallop here and there or a brief section of feedback, crashing drums and bouncy bass lines. Around the 4 minute mark it becomes a little melodious before slowing down into death metal territory with noisy feedback underneath.

The final track "Negative Space" is the shortest and easily my favorite, beginning with catchy death riffs and then into more mid-paced tremolo goodness. From about the 1:00-2:20 minute mark the leads are even more wickedly lively. The best section starts at 3:20ish after a short pause for a percussive build up: evil, cacophonous chords build up the atmosphere adeptly with echoing rasps and screams below the mounting disarray. It's a fucking brilliant way to end an already impressive demo.

Excellent blackened madness sure to quench your thirst for all sides the genre has to offer. This will leave you wanting more guaranteed. Recommended especially for fans of Barghest, False, Taake, and Thantifaxath. Listen to this at their bandcamp page.

Seventh Rule Recordings are the guys who put out Atriach's massive "Forever the End", so they seem to know a little something about good and lumbering metal. Last week they had a promotional free download of all the releases on their bandcamp page, and I was perusing some of them until I came to Batillus. The cover caught my attention first (reminds me of something Godflesh would use) and when I gave the album a listen I was not disappointed.

The title "Furnace" is appropriate as this will smoulder with intensity in your ears until your brain turns to ashes. I wouldn't say its has never been done before but that's no reason to pass over this record. Furnace opens with a brief noise-backed clean section before rumbling into feedback and an avalanche of
murky sludge riffs that will hypnotize
without question from that point on. In rare instances it will pick up
above a crawl or go silent and clean but it inevitably slides back into a dim and ugly mist. It's a solid, atmospheric and monolithic doom release with a few blackened tendencies which will please any fan of slow and pounding riffs. Truly heavy and austere — thick and fuzzed out guitars/bass writhe over a 45 minute journey with reverb covered, spectral rasps and howls from the vocalist. There are some synths and cycling ambient noise carefully placed throughout complimenting the gloomy atmosphere perfectly.

Despite the length and pace it's over before it has a chance to wear you down. Absolutely recommended; doom and sludge fans will certainly enjoy this record immensely especially if you like crushing shit like Thou and Atriarch. You can listen to it on their bandcamp page where you can also pick it up on vinyl and cd (or through Seventh Rule directly).

Friday, December 2, 2011

What a record. Necros Christos can be counted as masters of death without question. This is their second full release and before their 2007 album "Triune Impurity Rites" they were pumping out splits and demos at a breakneck pace, refining their sound and pushing themselves to this point.

Doom of the Occult is a 22 track behemoth of doom smothered death with a slight middle eastern flare sprinkled throughout, both in terms of riffing and solos as well as instrumental, ambient and folky interludes (labeled as Gates or Temples). I was concerned these instrumentals would break up the punishing death metal too much but to their credit add a lot too the record overall.

Interludes are composed of a range of elements. Some are short ominous organ-like keyboard sections, others are dark choirs, and my favorites are flute, tar, acoustic guitar, and setar melodies that produce an antiquated and medieval atmosphere — all of which flow well into the delicious main course. These tracks are expertly crafted slabs of rolling death metal that follow a simple formula: sick mid-paced tremolo riffs punctuated by pinched harmonics, crunchy powerchords and plodding drums, followed a truly wicked solo; while not groundbreaking it's truly satisfying. The vocals are deep and monstrous while still decipherable with lyrical themes that range from the wrath of ancient gods and kings, the afterlife, disease, necromancy, towering temples and bleak abyssal mysteries; all that apocalyptic shit (in various languages). It all amalgamates to form an imposing ediface of archaic death you don't want to pass up.

Forgotten Spell truly have a unique sound. Very unorthodox while still retaining an exceedingly raw black metal feeling. And oh fuck is it raw — the production might put some people off but once you look past or embrace it (and you really should) there is hugely complex/creative song-writing and skillful musicianship buried underneath. One might be inclined to describe it as technical or even progressive but if so it's certainly not in a flashy, wanky sense. "Desecrated, Decayed and Still Holy" is still well within the realm of traditional occult black metal but their song structures, atmosphere and guitar tone are far different then most black metal acts out there.

The guitar tone at times resembles horns of some kind, warped and wailing over chaotic and furious drum blasts and the caustic, frantic growls, moans and howls of the vocalist ("Into Sulphuric Vortex of Abyssic Cult" is a perfect example). Blazing tremolo riffs screeching through the thick, filthy production with moments of darkly groovy powerchords; the bass is there though barely poking through the rest of the madness. Sparing use of piano and acoustic guitar work very well for quick breathers from the distraught whirlwind of chaos that your ears are saturated with all the way through. This is their second demo and it hits the 1 hour and 29 minute mark with 9 tracks which is enormous and ballsy — the material here is very strong and compelling but a demo of such length will no doubt wear down many people.

Forgotten Spell have conjured a magnificent storm of strange and foul black metal with this demo. They succeed in straddling the realms of "true" black metal while pushing technical and atmospheric boundaries without falling into common trappings of either side. I'd really like to here the demo they put out this year. This particular release is limited to 333 copies on tape and only available from the label as far as I know.

Thursday, December 1, 2011

I first saw this up on The Living Doorway in early-November and since those guys clearly know their shit (definitely when it comes to tasty hardcore) I checked out, quite enjoying what I heard. Not long after that I found the band requested us to put it up as well and I've been meaning to do so. Some very nice blackened hardcore to be heard here.

"Haapoja was formed in Oulu, Finland in 2007.Originally the plan wasto play death metal. Since then the style has evolved and influenceshave been taken from various styles of heavy music, like Converge-stylehardcore and black metal. There have also been some line-up changesand some pretty long breaks mostly due to the mandatory militaryservice in Finland. In summer 2011 Haapoja recorded their first properdemo, called Hallitsematonta Voimaa."

It's a little difficult to place their style: somewhere between hardcore like Narrows in their faster moments (or maybe even a little KEN Mode) and Deathspell Omega-ish twisted black metal, moving across both very seamlessly but ultimately ending up on the dark hardcore end of things. Despite this sub-genre having grown saturated in the past few years Haapoja have managed to carve out a uniquel sound with a technical style while remaining catchy as all hell. Instead of relying on a cold sludgy/crusty atmosphere this is often fast and shifts pace at various points, never resting too long before breaking into another discordant run. Vicious vocals and truly bouncy, dissonant blackened riffs. It's short and sweet running slightly over 20 minutes.

A very promising young Finish act and I'd certainly recommend giving them a listen if you like dark and angular hardcore. Check out Hallitsematonta Voimaa on their bandcamp page or facebook.

Tuesday, November 29, 2011

Artists like Dessa have been posted before, and P.O.S has been referenced a few times on this blog, but they are all just a part of the Doomtree record label and collective hip-hop group. No Kings is a showcase of each members talent, placed over a lot of industrial sounding beats, and riddled with some of the finest wordplay you'll hear this year. If you like any artists from Rhymesayers or Strange Famous Records, you will love this most likely, and it goes without saying that fans of any of the artists from Doomtree will adore it as well.

Saturday, November 26, 2011

A killer release from a band that is dead. Gilead Media again have housed another winner. Themed around the excellent novel by Philip K. Dick (as well as several of his other works), A Scanner Darkly have molded a fierce sound from grindcore and sludge with some noise influence sprinkled throughout. This shit is a face shredder and has a pretty unique sound for such a grindy band, very spacy atmosphere in between the blasts, feedback and huge powerchords.

I'm pretty sure this is their only release. There are six tracks that alternate between quick 1:30 technical blasts and 4 minute sludgey batterings (often with great use of the wah), some of which start with ominous statements in a Hawking-esque speak-and-spell voice. Vocals range from standard powerful grind vocals, deep raspy roars to distorted and effect-drenched yells. The final track is a haunting 9 minute drone with a minimal acoustic backing, filled with feedback, warped electronic pulses and samples which come together to evoke images of a sci-fi totalitarian landscape; much like the cover. It's all catchy as hell, polished and sure to please any fan of grind.

Wednesday, November 23, 2011

Better late then never on this one. I haven't heard any of SubRosa's previous releases but this has left a definite impression on me.

Soft and clean, folk-like droning female vocals (reminiscent of sedated Nerissa Campbell) pull you into the gloomy dark while fuzzy and slow guitar/bass leads lift you up into a hazey peak, crashing back down riff after riff. Among these elements are the excellent placement of the electric violin used by two of the ladies which sound eerily like trumpets, never overused and accent the drugged out atmosphere. Pacing is set by slow and steady doom drum beats. The forlorn, intoxicated atmosphere boarders on psychedelic with the wavy violins and subtle wah/noise effects but the constant, slow groans of the guitars and very abrupt sections of coarse growls from the singer keeps this in the realm of dreamy sludge. A noticeable and unique sound, well composed and executed. "No Help For The Mighty Ones" is extremely catchy and heavy.

Some of the musical and melancholic lyrical themes are inspired by books ("The Road" and "War Against The Weak") and Russian fairy tales, and there are subtle touches of a hammered dulcimer, harmonica, chime, and thumb piano. There are a few guest musicians the contribute to various songs and one of the closing tracks ("House Carpenter") is an acapella rendition of a Celtic folk song.

I've seen comparisons to Neurosis but I would place them more along side early A Storm of Light if they were more stoner oriented. Definitely recommended. Pick it up from Profound Lore or from SubRosa's store. Listen to it on their bandcamp page.

Tuesday, November 22, 2011

Man, Thou flat-out rule. Their third full length album "Summit" is four immense, perfectly distilled, spellbinding sludge tracks that show great maturation even over the greatness that was "Tyrant". The pacing is excellent, the lyrics are sharp and cut into you with the vitriolic blackened vocals, riffs are booming (with occasional melodic passages peaking through) and will stick with you long after the record has stopped. Especially Prometheus, I come back to that track constantly. It is some mad low-tuned destructive shit from beginning to end, filled with raw frustration, gloom, lividity and punctuated with brief glimpses of beauty.

Definitely something that should have been posted here a while back. I love this record so much I recently picked up the repress even though I already have the first press. This version includes two bonus tracks, both of which eventually ended up on the recent "The Archer & the Owle" EP, and is still available at Gilead Media. I suggest picking it up if you love doom or sludge especially considering the label in need of some help at the moment.

Monday, November 21, 2011

Listening to this record is basically like being pounded in the face in excruciatingly slow intervals continuously for 40 minutes with a mace as you choke on your own blood and splintered skull, lying in a dark battlefield. The crawling scent of a thousand torn up corpses piled in the center of a ruined castle ready to be burned.

I'm not sure if post come off as pretentious or alarmist but fuck it, I won't make a habit out of posts like these anyway.

Equivoke is a simple blog posting/pirating music created by hard working musicians alongside regular dedicated guys running DIY record labels such as Gilead Media, Enemies List Home Recordings, Dark Descent, Hydra Head, Neurot Records, Robotic Empire, Vault of Dried Bones, Howling Mine, The Flenser, and many others. What we do is so easy, what they do requires a lot of time, dedication, money, and love for the material they put out there and rarely do they try to have blogs like ours shut down for spreading their stuff around illegally. I feel the least I can do is try to raise awareness of some of these guys and their current situations, maybe direct some support their way — often they're in a constant bind being small, underground labels and bands who reinvest all profits into new releases and work hard to keep the quality to a high standard.

Adam Bartlett of Gilead Media recently posted an update on his blog about the label's current situation and while it's not in any immediate danger of shutting down, recent events in the past year have made it harder for him to continue providing music and merchandise that I and many others love. Throughout my time here I've posted quite a few of their excellent releases — False, Ash Borer, Fell Voices, Ruin Lust, Krallice, Thou, Barghest, Black Arrows of Filth & Impurity — most of which are still available (some in their second pressings). I'm well aware that not everyone has cash on hand to pick up releases on a frequent basis but if you were on the fence about picking something up from Gilead now would be the perfect time. Adam isn't looking for pity or hand outs, nor is he trying to be dramatic (since his isn't the only label affected). Do what you can to support him and the various underground labels so they can continue to bring us quality music.

On a side note, I'd also like to call attention to more bullshit intellectual property rights legislation being pushed by the entertainment industry in the USA which will affect essentially everyone involved in blogs such as these (not to mention the other 90% of the internet). It's brought up every so often and usually is squashed, hopefully that's what happens here. To do your part in ensuring that it is put down (even if you aren't in America) follow the link above to learn more or go here.

Catastrophic, ancient, dissonant, twisted and ugly. A squall of intense and incomprehensible crawling darkness spilling into your ears. This builds on the magnificence of Under Wing of Asael and Revelations In Excrement. Nothing but well written face-splitting riffs, primal drum blasts, actually audible bass riffs, and organ destroying vocals. No space is wasted, no bullshit — all is devoted to conjuring extreme bestial intensity.

Wednesday, November 16, 2011

Honestly I haven't been very interested in much of the post-metal/post-rock released this year like I have in the past. Braveyoung's new album blew me away and may be the only post-rock release I've thoroughly enjoyed while Russian Circles' latest 'Empros' I found largely disappointing. I did enjoy the new Omega Massif but truthfully it doesn't live up to their debut (last half almost gets there). However Dyskinesia's latest album "Dalla Nascita" showed up in my requests a few days back and definitely has piqued my interest more than most of what I've heard from the genre this year.

My initial impression of Dyskinesia lead me to compare them to two experimental groups getting a lot of attention recently — The Body and Terra Tenebrosa . At least to some extent. The difference is that while I really didn't enjoy either of those band's works I found this far more engaging, refined, well structured and less tedious. It may be because this is more straight forward and loud than my first impression led me to believe, more resembling Omega Massif and Tesa here and there then the aforementioned acts which makes it far more appealing to me.

Seven tracks in all which range from 5 to 8 minutes each. There's a lot of elements in "Dalla Nascita" but the overarching theme of atmospheric sludge/post-metal dominates their sound. They make a point to express that it was "recorded live in studio, with few overdubs, keeping the spontaneity and the rarefed atmospheres of their past works alive." The album flows seamlessly without becoming redundant or forgettable.

Most songs are composed of waves of well layered guitar effects: several droning/wailing guitars over the heavy sludge leads and soft bass riffs creating a wonderfully deep and lonely atmosphere. It feels like an instrumental album but a lot of tracks have either ghostly/hushed semi-clean singing or harsher vocals (similar to Time to Burn) behind the chaos created by the effect-laden guitars and pounding drums. The fourth track shows off the drone or noise aspect of the album without becoming grating; subtle resonating hums and cycling industrial/noise samples pulse slowly throughout. The final three tracks fade back into dreamy post-metal with tinges of shoegaze, the last track ending on a decidedly noisier note.

Despite the fact "Dalla Nascita" reaches just over 45 minutes it passes much faster than you'd think, stemming from the fact that every song is quite enjoyable. Beautiful in some moments while heavy and chaotic in others it's finely tuned record without the filler I was expecting. They've put it up for free (with the choice of donation t support its release) and you can also hear it on their bandcamp page.

Tuesday, November 15, 2011

In the middle of a Thou binge I decided to check out some requests (something I don't do often enough). I have a few other requests I want to post eventually but this one in particular caught my interest. Sid from this young two-piece London band called Chromes left me a nice email about their new EP. Not much can get me to stop a Thou track midway through but this two track release did just that.

"And Here My Disgust Begins" is a short but very hard-hitting/well written EP with a distinct sound, creeping along the edges of Young and In The Way and Celeste territory. A seriously dark and bleak atmosphere surrounds this one. Hopefully this is only a small taste of what's to come as these guys know how to create some brooding and pissed dark hardcore.

The first track "And Here My Disgust Begins" starts with jarring feedback. Immediately following this is a mass of slowly writhing blackened hardcore riffs and dissonant slides which lead up to a mid-point of hypnotic ambience, finally letting go into a melodic chunk of chords with a subtle piano bed — ending the song in a very beautiful yet sad light. Everything moves along smoothly, no dragging moments. "Diamond Crowns" quickly follows with some slow, powerful sludgy leads that melt into a brief clean/quiet moment and back into the former again. This repeats once more to great effect and drags you towards a noisy, ominous conclusion. All elements here are well refined from the Converge-esque vocals tinged with hate and desperation to the noisy and thick guitar tone, to the pounding drums (which get lost in the chaos at points). The subtle touches of piano and feedback are very effective without coming off as cheesy or forced. Intense from beginning to end.

Thoughtfully constructed and highly recommended. You can listen to and download the EP on their bandcamp page and soundcloud, and follow them on facebook or on their blog. You'll definitely want to keep an eye on what these guys have planned.

Monday, November 14, 2011

While I was sitting around between reading breaks I was thinking back on past live shows (having just seen Russian Circles for a second time which was fantastic), and I kept coming back to the Thou with Wolves in the Throne Room/Gates/Thantifaxath
show a few months back. All the bands that played that night were great
but I can easily say that seeing Thou for the 30 minutes they were on
stage was one of the most intense and heavy live shows I've experienced.
Being so ridiculously close to the band while they were performing on a
half-pipe I was nearly smashed between the bassist and guitarist during
the entire earth-shaking set, swaying and entranced by the tremendous
doom they conjured up right through to a wonderful Black Sabbath cover
that finished it off. Thou absolutely surpassed my expectations. Then I
realized I have never posted one of their albums here which disturbed me
a little.

Thou are undeniably a very hard working
band. They've consistently put out at least four or five releases every
year since 2007 (sometimes posting their stuff for free) and all of them
are quality. "The Archer & The Owle" is one of three releases this year
— a punishing and crawling sludge beast as all their records are. It
contains three excellent covers ("Nirvana - Something in the Way",
"Pygmy Lush - Cold World" and "There There"), two 10 minute mammoth
originals (one that appears on Summit as a bonus track) and one short interlude with a trumpet (again from Summit); all of which emanate a
cold and agonizing atmosphere alongside the relentlessly heavy growls
of the guitars/bass and hoarse, shrieking vocals in true Thou fashion.

Nothing can compare to their live performance in all
honesty but this is quite a record and I highly recommend you check it out if you haven't already (and if you can find a copy, grab one).

Thursday, November 10, 2011

Another tower of death metal I was anticipating greatly. Sanguis Imperem are a USA old school death metal machine with a similar vibe of Necros Christos or Sonne Adam, and this is their first full length after a few EPs and a split with Nocturnal Blood.

Opening with a foreboding acoustic intro, "In Glory We March Towards Our Doom" is nine tracks of quality death and the sound definitely fits the title. The sound of a massive army trampling the earth towards certain death without regard for anything in its path. Nothing but relentless waves of tremolo leads that spill into occasional slow/bendy riffs, coupled with abominable growls and screams, and war-like drumming marching you to a dark, endless pit of tangled corpses. Nothing flashy, very dirty and powerful.

Their style is familiar no doubt but they pull it off so well. Pick it up now at Hells Headbanger Records. You won't regret it.

Admittedly I do try not to post stuff that my fellow bloggers have posted the same day usually but I will and have certainly make exceptions. This is really good — another win for Dark Descent Records.

Like the wicked child of Vorum, Incantation, and Antediluvian, Ritual Necromancy's "Oath of the Abyss" rips through the darkness with a muddy chainsaw guitar/bass tone from the former (or Denial) and oppressive, frighteningly deep and formless vocals of the latter. Lots of dark, creeping and doomy mid-paced tremolo riffs with chunky chords interspersed throughout the record over the annihilating, merciless drums. Oath of the Abyss provides nothing but satisfying, unstoppable old school tomb-defiling death metal.

Those who like the above mentioned bands or Vasaeleth, Funebrarum, Ignivomous, etc. better check this out. Get a copy over at Dark Descent.

Monday, November 7, 2011

I found these guys awhile back and listened to their first album, Plazmadkaos which I thought was neat, albeit a bit boring. If you're expecting another The Amenta, you're mistaken. This band doesn't really take noise music elements, but instead they use lots of techno sounds, lots of beep boops, zeep woops. Let's not say this album isn't extreme, it's actually pretty intense. They even throw in that industrial clean vocal yelling thing that bands do, if you know what I'm talking about and that's along side guttural squeals and growls. This might not be a lot of people's cup of tea, and people might think it's a bit cheesy and over produced...

But I like it...

I like it a lot.

Also, help me figure out the genre. Because I have no idea what they are other than industrial.

Oh yeah. More Seven Sisters of Sleep is always welcome and like Young and In The Way these guys are always busy. Here's the latest offering in the form of a split with Children of God.

Six tracks, three from each band. It's angry and abrasive. The Seven Sisters of Sleep side is more sludge oriented while the Children of God side resembles more traditional hardcore but there are elements of sludge mixed in there enough to see why these two beasts would come together for a split (particularly on Bled Dry, very doomy). I haven't heard of them until this was announced but it would seem they should be getting more attention.

They are a brilliant and unique french atmospheric sludge/post-hardcore band who put out one demo, one EP and two full lengths. Is.Land is their second and last release — it is so impressive and powerful and there is still not much out there like it in the genre. The energy, atmosphere and passion mirrors that of Amenra or Mare. Check out their video for the second track Nayeli and you'll hear what you've been missing:

Is.Land is filled with quality writing and blends styles in surprising ways. It moves from brutal and fast hardcore riffing and melancholic, crushing sludgy swells and leads while always maintaining atmosphere. The drumming is tight and clear, noticeably adding to the intensity. It's the calamitous and visceral vocals that almost reach that of Colin from Amenra and Tyler of Mare which I find captivating; Eddy's vocals can be harsh as in the above example or soft and clean as shown in the closing track "Land."

I cannot recommend this album and band enough — they are an extremely satisfying listening experience. It's just too bad they shut down. The final message from the band:

"After a few years of slowed down activity, time to burn is now on hiatus.

We couldn’t be more thankful for everyone who helped us. Every gig we
played at, every floor we slept on, every band we’ve toured with. we’ve
met great people along the way, and they would be too many to name all.
thank you."

The old links were low quality but these are 320. If you want to support them you can get this on vinyl or CD right here, and I highly recommend you do.

Sunday, November 6, 2011

Another band I've been hearing about for a while but neglected to check out, regretfully indeed. This is some sick stuff that straddles the sounds of angular hardcore like Narrows and bizarre doom like Battle of Mice and Neurosis.

What is immediately notable is the vocals of Julie Christmas which are strangely beautiful, piercing and a little disturbing; fitting in excellently amongst the dissonant and devastating guitar leads. I remember disliking her style while she was in Battle of Mice but that has since changed and I guess I just didn't realize she was playing in this band, otherwise I would've been all over this sooner. She keeps it melodic and clean to great effect until suddenly tumbling into a more harsh and creepy style for brief moments. Probably not for everyone.

This (like everything on Neurot) is difficult to place as just hardcore or just sludge so it can be expected that you'll be surprised. And again the sludge moments do remind me of Neurosis and Battle of Mice while the hardcore influence could be compared to Narrows or to a lesser extent Kiss It Goodbye (minus the intense and unbeatable anger) but that's about all I could compare it to — and vaguely at that. Great writing and pacing as well as unique sound. Go to Neurot to get a copy.

I should be working on a paper but instead I'm listening to this and the new Leviathan album (which I'll get around to posting but you can find it over at our friend Forever Cursed).

What we have here is a plodding band from Spain that takes the sludge from Seven Sisters of Sleep and tears away the hardcore element leaving thick billowing clouds of heaviness in its stead (not unlike Canada's Weirding to some extent). Simple and satisfying all the way through with a few nice surprises. Slow dirty riffs, raspy vocals and steady pounding drums echoing from the bowels of a long-forgotten temple.

Opening with the ominous droning of a monk, The Psalm has seven tracks (including a Cerebral Fix cover) that all hit just under the seven minute mark, ending with a ten minute final track including vocals from Marco of the Spanish doom outfit Orthodox. The cover gives you a good impression of how the album sounds and feels. You can get a copy at their shop right here.

The Axis of Perdition has for a long time been one of my favorite black metal bands, ever since I listened to their first LP, The Ichneumon Method (And Less Welcome Techniques). That album and their EP, Physical Illucinations in the Sewer of Xuchibara (The Red God) were extremely chaotic with harsh distorted vocals and with dark ambient whip cream. Their second LP, Deleted Scene from the Transition Hospital drifted towards more dark ambient and less black metal. And Urfe was almost a straight up audio book.

So this album, is kind of a surprising turn backwards. With some new twists. I can't really compare this album their previous works at all except for a few small details. Yes, this is harsh atmospheric scary black metal like The Ichneumon Method but it's as chaotic. You can find better comparisons from the band Blut Aus Nord. At first, I didn't like the idea and almost blew the album off. But I gave it another listen and it grew on me. So you guy's should give it a try and listen for yourselves.

From what I got, my friend found this album and bought on impulse. He gave it to me and said "I totally had to show you this." I'm glad he did, I'm a sucker for H.P. Lovecraft shit. At first, I wasn't expecting much but when I finally listened it grew on me. It's haunting, trippy, and very sifi. Basically what I feel when I read a story by Lovecraft. The track I have a problem with is Lovecraft Knew, as Aarni sounds kind of weak compared to the other artists here.

“Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again. He knows where They have trod earth's fields, and where They still tread them, and why no one can behold Them as They tread.”